Thursday, August 9, 2012
Riccitelli: Move On
Our TV Thursday cut is featured in BMW X1 commercial and is by Riccitelli. “Move On” is the track and I really cannot tell you much about this tune or the artist other than that I like it – I like it a lot. This 2011 release sounds like a cross between Jamie Cullum and and John Mayer. Enjoy.
Wednesday, August 8, 2012
David Essex: Rock On
Recorded in 1973 and peaking on the American charts at number 5 in spring of 1974, David Essex’s “Rock On” is one of those songs that when you heard it first you had to stop and carefully listen to it. Considered a “Glam Rock” song, “Rock On” was more than that and it defies categorization - with exception of one. It was a one-hit wonder.
The song begins with Ray Cooper’s percussion and Herbie Flowers’ bass run through a tape delay. The dry signal figured into the left channel while the delay appeared in the right. Strings and horns appear later in the mix and Essex’s vocals are processed with heavy dose of reverb – reminiscent of production from the 1950s – a theme of the song.
This is a song that cries out to be heard in stereo, and a mono mix just doesn’t do it complete justice. Although, I probably first heard this song through the one speaker in the dash of my 1964 Ford Fairlane 500 over WKEE-AM80 in Huntington, WV. The mono AM radio version didn’t hamper me from going out and buying the single as soon as possible.
The thing that bothered me about this song was Essex’s equating of the names Jimmy Dean and James Dean. I know he intended for the reference to the actor James Dean; however, when I think of Jimmy Dean, I think of the country artist who sang “Big Bad John.”
A younger generation will identify with Jimmy Dean as the sausage huckster – a reinvention of his career. Now, James Dean of “Rebel without a Cause,” “East of Eden,” and “Giant” was a much cooler icon. This song was cool as well, so I guess I’ll cut Essex some slack on the Jimmy/James nomenclature.
The song begins with Ray Cooper’s percussion and Herbie Flowers’ bass run through a tape delay. The dry signal figured into the left channel while the delay appeared in the right. Strings and horns appear later in the mix and Essex’s vocals are processed with heavy dose of reverb – reminiscent of production from the 1950s – a theme of the song.
This is a song that cries out to be heard in stereo, and a mono mix just doesn’t do it complete justice. Although, I probably first heard this song through the one speaker in the dash of my 1964 Ford Fairlane 500 over WKEE-AM80 in Huntington, WV. The mono AM radio version didn’t hamper me from going out and buying the single as soon as possible.
The thing that bothered me about this song was Essex’s equating of the names Jimmy Dean and James Dean. I know he intended for the reference to the actor James Dean; however, when I think of Jimmy Dean, I think of the country artist who sang “Big Bad John.”
A younger generation will identify with Jimmy Dean as the sausage huckster – a reinvention of his career. Now, James Dean of “Rebel without a Cause,” “East of Eden,” and “Giant” was a much cooler icon. This song was cool as well, so I guess I’ll cut Essex some slack on the Jimmy/James nomenclature.
Tuesday, August 7, 2012
Mark-Almond: The City
A few weeks ago, I featured a cut by Mark-Almond as I had a dream about the band. As I was selecting that song for our Bubbling Under category on Saturday, I ran across a more jazz influenced tune that I was saving for Tasty Licks Tuesday. Since I only have 50 posts to go before I shut down this blog, I thought that there is no time like the present to feature this cut from the band’s 1971 debut album on Blue Thumb Records.
“The City” really provides a look at the talent the members of this little known band have. The guitar and vocals feature John Mark. The inspiration for the other half of the name, Johnny Almond, provides the sax and flute solos. Playing both electric and acoustic piano was Tommy Eyre, and Rodger Sutton was the bassist.
The band had no drummer at this point, but everyone played percussion. The highlights to “The City” are piano and woodwind parts. Incidentally, I saw a copy of the original issue of this album for sale for over $900. This is a little high in my book.
“The City” really provides a look at the talent the members of this little known band have. The guitar and vocals feature John Mark. The inspiration for the other half of the name, Johnny Almond, provides the sax and flute solos. Playing both electric and acoustic piano was Tommy Eyre, and Rodger Sutton was the bassist.
The band had no drummer at this point, but everyone played percussion. The highlights to “The City” are piano and woodwind parts. Incidentally, I saw a copy of the original issue of this album for sale for over $900. This is a little high in my book.
Monday, August 6, 2012
Ryan Adams: Wasted Years
For my Monday Mélange feature, I found an acoustic live version of Iron Maiden’s “Wasted Years” by American Ryan Adams. It was recorded nearly a year ago on Dutch radio station 3FM during Giel Beelen’s morning show. This is a nice interpretation of this tune.
The guitar Ryan is playing is a Buck Owens American, which was based on the prototype that Owens played on the very popular, but corny, TV show “Hee-Haw.” This guitar saw its rounds through a number of guitar companies. The original that Owens played was custom built by Semie Mosely of Mosrite Guitars, which was based in the same town as Owens – Bakersfield California.
Owens took the design to Chicago Musical Instruments and their Gibson division patented the instrument. While Gibson did not manufacture the guitar, CMI licensed the design to Harmony Guitars and they mass produced the instrument for sale at Sears & Roebuck under their Silvertone brand. The price was $82.95. A chipboard case was sold at $9.50. Owens received $2.50 for each guitar sold. It is estimated that over 5,000 of these guitars were sold.
The 1971 Sears catalog, advertised the guitar thusly:
So it was a guitar designed by Mosrite, patented by Gibson, licensed by Chicago Musical Instruments, built by Harmony, marketed as a Silvertone, and branded as the “Buck Owens American.” Got that? How many of these do you see today – not very many.
While I thought this was a hokey instrument in its day, it appears from this Ryan Adams’ video that it really sounds great and must play great as well. By the way, Harmony’s Sovereign brand later reissued these guitars in a slightly different configuration. I believe these were made in Asia during the early 2000s and can be purchased via the Buck Owens’ Crystal Palace Country Store for under $500.
The guitar Ryan is playing is a Buck Owens American, which was based on the prototype that Owens played on the very popular, but corny, TV show “Hee-Haw.” This guitar saw its rounds through a number of guitar companies. The original that Owens played was custom built by Semie Mosely of Mosrite Guitars, which was based in the same town as Owens – Bakersfield California.
Owens took the design to Chicago Musical Instruments and their Gibson division patented the instrument. While Gibson did not manufacture the guitar, CMI licensed the design to Harmony Guitars and they mass produced the instrument for sale at Sears & Roebuck under their Silvertone brand. The price was $82.95. A chipboard case was sold at $9.50. Owens received $2.50 for each guitar sold. It is estimated that over 5,000 of these guitars were sold.
The 1971 Sears catalog, advertised the guitar thusly:
Buck Owens Red, White and Blue American Guitar. Add color, great sound to the country and western scene with this Buck Owens grand-concert size guitar. $82.95. Bold stripes, bright stars, great response in this guitar that sounds as free-spirited as it looks. Select spruce top, finest wood for vibrant resonances. Bound rosewood fingerboard with 7 position markers that guide you to sure chording; 5 side markers, steel strings. Rosewood bridge; adjustable steel-rod reinforced neck prevents warping. Hardwood back and sides. Celluloid bound top and bottom edges. Celluloid headpiece with white edging. Individually covered machine heads. Red, White and blue flat-top guitar. Instruction book, pick. Guitar measures 40 1/2 x 15 1/8 x 4 1/8.
So it was a guitar designed by Mosrite, patented by Gibson, licensed by Chicago Musical Instruments, built by Harmony, marketed as a Silvertone, and branded as the “Buck Owens American.” Got that? How many of these do you see today – not very many.
While I thought this was a hokey instrument in its day, it appears from this Ryan Adams’ video that it really sounds great and must play great as well. By the way, Harmony’s Sovereign brand later reissued these guitars in a slightly different configuration. I believe these were made in Asia during the early 2000s and can be purchased via the Buck Owens’ Crystal Palace Country Store for under $500.
Saturday, August 4, 2012
Stephen Stills & Manassas: Right Now
As their custom was to name battles after the nearest town, the Confederate States of America called the two northern Virginia battles that occurred during the summers of 1861 and 1862 as First and Second Manassas – their counterparts to the north referred to battles by the nearest body of water or other physical characteristic and the same were known as First and Second Bull Run.
When Stephen Stills was forming his next band following the release of his second solo album, he took his group for a photo shoot at the train station in Manassas, Virginia because of his interest in the American Civil War – or War of the Northern Aggression to those of you south of Mr. Mason’s and Mr. Dixon’s line of demarcation.
The cover was shot below the Manassas sign and hence became the name for the band as well as the first of the band’s two albums. Pity he didn’t name them as First and Second Manassas, but they were christened as “Manassas” and “Down the Road” respectively.
The double album, which was released in 1972, contained a supergroup of country/folk rock musicians, and included besides Stills who played nearly everything, Chris Hillman and Al Perkins from the Flying Burrito Brothers; Dallas Taylor and Fuzzy Samuels of Crosby, Stills, Nash, and Young; and Paul Harris and Joe Lala.
My college friend Greg Rector requested that I play “Right Now” from the album’s fourth side and fourth suite of music appropriately named “Rock & Roll is Here to Stay.” Thanks to Greg, he rekindled my interest in this album that I probably not listened to since it was released forty years ago.
While I never had a vinyl copy of this LP, I remember recording it from WDVE in Pittsburgh late one evening. The same week, they also featured (and I recorded) Neil Young’s “Harvest” and Graham Nash and David Crosby’s first duo album. I still have the tapes somewhere, but have not even entertained the thought of listening to them – until now.
“Right Now” features Stills on lead vocals and Chris Hillman on harmony vocals. Stills also provided the slide guitar – which is credited as “bottleneck guitar” in the liner notes. Joe Lala’s congas are appropriately placed in the mix along with Paul Harris’ keyboards.
Greg is going to see Crosby, Stills, and Nash and wanted to delve back in the archives in preparation for his trip. I had a chance to see CSN twice and Crosby and Nash once – so I know of what he speaks and it will be an exciting show. Thanks Greg for the inspiration – another winner as always.
When Stephen Stills was forming his next band following the release of his second solo album, he took his group for a photo shoot at the train station in Manassas, Virginia because of his interest in the American Civil War – or War of the Northern Aggression to those of you south of Mr. Mason’s and Mr. Dixon’s line of demarcation.
The cover was shot below the Manassas sign and hence became the name for the band as well as the first of the band’s two albums. Pity he didn’t name them as First and Second Manassas, but they were christened as “Manassas” and “Down the Road” respectively.
The double album, which was released in 1972, contained a supergroup of country/folk rock musicians, and included besides Stills who played nearly everything, Chris Hillman and Al Perkins from the Flying Burrito Brothers; Dallas Taylor and Fuzzy Samuels of Crosby, Stills, Nash, and Young; and Paul Harris and Joe Lala.
My college friend Greg Rector requested that I play “Right Now” from the album’s fourth side and fourth suite of music appropriately named “Rock & Roll is Here to Stay.” Thanks to Greg, he rekindled my interest in this album that I probably not listened to since it was released forty years ago.
While I never had a vinyl copy of this LP, I remember recording it from WDVE in Pittsburgh late one evening. The same week, they also featured (and I recorded) Neil Young’s “Harvest” and Graham Nash and David Crosby’s first duo album. I still have the tapes somewhere, but have not even entertained the thought of listening to them – until now.
“Right Now” features Stills on lead vocals and Chris Hillman on harmony vocals. Stills also provided the slide guitar – which is credited as “bottleneck guitar” in the liner notes. Joe Lala’s congas are appropriately placed in the mix along with Paul Harris’ keyboards.
Greg is going to see Crosby, Stills, and Nash and wanted to delve back in the archives in preparation for his trip. I had a chance to see CSN twice and Crosby and Nash once – so I know of what he speaks and it will be an exciting show. Thanks Greg for the inspiration – another winner as always.
Friday, August 3, 2012
Doobie Brothers: Rockin' Down The Highway
From the Doobie Brothers’ second album “Toulouse Street” – the album that put the band on the map – our Friday Flipside is “Rockin’ Down the Highway.” This Tom Johnston song was the “B” side to the bands interpretation of “Jesus is Just Alright” – a song originally recorded by the Arthur Reid Singers. The Doobies’ version charted as 35.
While the band’s first album only made it to 210 on the album charts, its successor “Toulouse Street” peaked at 21 and was certified platinum. “Rockin’ Down the Highway” was originally was released as the flip to the second single; however, it was later issued as a single proper and it failed to chart. In light of this, we’ll keep it in its flip side status for today’s post.
While the band’s first album only made it to 210 on the album charts, its successor “Toulouse Street” peaked at 21 and was certified platinum. “Rockin’ Down the Highway” was originally was released as the flip to the second single; however, it was later issued as a single proper and it failed to chart. In light of this, we’ll keep it in its flip side status for today’s post.
Thursday, August 2, 2012
Dire Straits: Walk Of Life
It’s TV Thursday and this year Burger King began using Dire Straits’ 1985 hit “Walk of Life” as part of their summer 2012 advertising campaign. I always thought the song had a Cajun flair with the synth part that is reminiscent of an accordion; however, the patch was an organ sound. I’m not sure what keyboards they used on this track, but being that the band had two keyboard players, it is pretty full sounding.
Even the production of this song has a Louisiana feel to it. From the album “Brothers in Arms,” “Walk of Life” was the follow-up single to the number one “Money for Nothing.” “Walk of Life” was a double crossover hit – charting at #7 on the Hot 100, at #6 on the Mainstream Rock chart, and at #4 in the Adult Contemporary format. What a great song.
Even the production of this song has a Louisiana feel to it. From the album “Brothers in Arms,” “Walk of Life” was the follow-up single to the number one “Money for Nothing.” “Walk of Life” was a double crossover hit – charting at #7 on the Hot 100, at #6 on the Mainstream Rock chart, and at #4 in the Adult Contemporary format. What a great song.
Burger King Commercial
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